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(More customer reviews)There are some classic tales that have been so oft told, I could probably go my whole life without revisiting the topic. The legend of King Arthur is certainly one of those stories which has been covered from every angle possible. And I've seen them all--from classical interpretations (Boorman's Excalibur), musical productions (Lerner and Loewe's Camelot), modern day variations (Romero's Knightriders), introspective art house pieces (Bresson's Lancelot du Lac), and countless other incarnations. Yet the story is so vivid and enthralling, it's hard to resist its allure. When I heard that the Starz network was planning to reinvent the legend of "Camelot," I was somewhat apathetic, somewhat worried, but also strangely hopeful. The network is coming off a huge success with its over-the-top bloody sword and sandals epic "Spartacus." So it makes sense they wanted to tackle another period adventure. Love it or hate it, though, "Spartacus" is a graphic spectacle that will assault your senses and leave you reeling. "Camelot" doesn't attempt the same type of visceral in-your-face aggression, but it seems to want to have it both ways. This version is completely sanitized for modern viewers (I'll speak to that later) but still wants to be edgy and provocative (oh look, there's Guinevere topless).
I'm not going to recount the plot of the boy King, other than to say that this version sticks to the primary elements of the tale while trying some creative sleight of hand to reimagine peripheral aspects. When King Uther dies under mysterious circumstances, his sorceress daughter Morgan (Eva Green) seems the likely heir. But cunning Merlin (Joseph Fiennes), who is having visions of foreboding, has a big secret to reveal. Uther had a illegitimate son Arthur (Jamie Campbell Bower) who has been raised on an idyllic country farm. Merlin brings the boy to court and starts to build a new kingdom around Arthur--a rule that hopes to combine the disparate and warring factions of the land. The boy seems an unlikely leader (always does, in my opinion) but is soon learning the laws of the land while establishing new ones. His rule is challenged in many ways, most subversively by his own sister Morgan, but through all the power plays and political intrigues--don't worry there is still time for that expected dalliance with the lovely Guinevere (who happens to be married to one of his most trusted soldiers).
A lot of elements work just fine in this version. Green's Morgan begins and ends every scene with a glower, and truthfully, it's hard not to root for her success over the hapless wet noodle (I mean, King). Her plots and machinations, in cahoots with some intriguingly complex female advisers, provide much fun and menace to the series. Fiennes seems to be having fun with his role--a cross between genius and madman--and is certainly one of the more unpredictable Merlins you're likely to encounter. This can be both good and bad--I certainly could have lived without his isolated bout of depression. Arthur's men are strong and interesting. The sets, costumes, and production values are all noteworthy as well. Fight scenes are well choreographed and the momentum is kept at a nice clip.
For my money, the show still gets dragged down in several significant ways. First, I never bought, believed in, or rooted for this boy King Arthur. Campbell Bower is introduced as a charming and irresistible womanizer (in fact, in the hilarious opener--he has seduced his brother's girlfriend into a tumble. Classy, huh?). He's so slight, with the look of an angry and petulant child, he hardly cuts the inspiring figure we're supposed to believe in. But appearance aside, he also lacks the appropriate gravitas in demeanor to champion a nation. Guinevere has been updated to a modern woman status--she single handedly sets about righting the chaos in Camelot in very era inappropriate ways. What strong independence! This Camelot wants to exist as a politically correct entity. In this land, children aren't used as commodities and women aren't exploited. It's all so proper--but has nothing to do with the barbaric time in which this all transpires. One particularly painful episode dealt solely with a teenage girl who was going to made to have relations with a powerful land boss. Arthur and his crew liberated the town from such tyranny--when, in fact, such acts would be commonplace not abhorrent by medieval standards. Even manipulative Merlin, as I mentioned above, doubles over in painful remorse and depression when his acts cause an unnecessary death.
Playing to every modern day sensibility of right or wrong absolutely renders the time period details ineffectual. Take, as a comparison point, HBO's brutal but stunning "Game of Thrones." It is graphic and uncompromising, but also smart and sophisticated. A definite must-see for adult viewers who crave powerful character driven drama. "Camelot," however, plays largely as a kid's fantasy with flashes of skin for grown-up viewers. I still liked many elements--and thank goodness for the over-the-top zeal of Eva Green. But the show muddies its message by playing it safe and then acting like it's dangerous. 2 1/2 stars. KGHarris, 5/11.
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In the wake of King Uther's sudden death, chaos threatens to engulf Britain. When the sorcerer Merlin has visions of a dark future, he installs the young and impetuous Arthur, Uther's unknown son and heir, who has been raised from birth as a commoner. But Arthur's cold and ambitious half sister Morgan will fight him to the bitter end, summoning unnatural forces to claim the crown in this epic battle for control. These are dark times indeed for the new king, with Guinevere being the only shining light in Arthur's harsh world. Faced with profound moral decisions, and the challenge of uniting a kingdom broken by war and steeped in deception, Arthur will be tested beyond imagination. Forget everything you think you knowthis is the story of Camelot that has never been told before.
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